The challenge of a creative society

1. The challenge of a creative society how to make 'joined-up' government work

2. You can’t use up creativity. The more you use, the more you have. Maya Angelou

3. There is increasingly a consensus at local, national and supra-national levels of the important contribution of cultural policies to improving the images of places, attracting tourists and investors, fostering social inclusion and cohesion, and, more generally, enhancing the quality of life. • Developing sustainable creative industries is central to the above agenda. Franco Bianchini – from Cultural Policy to cultural planning

6. Government strategy Collaborative networks , not companies are fast becoming the basic units of innovation and production in the new economy. Living on thin air. Charles Leadbeater Maybe government engaged in collaborative networks across ministries is the future for new economies?

7. Education, culture and industry working in partnership Where do the core creative fields develop their creativity?

8. Education, culture and industry working in partnership It starts with Education

9. Education, culture and industry working in partnership • Sir Ken Robinson identified 4 challenges for education in the 21st Century[ All our Futures] • The economic challenge • The social challenge • The personal challenge • The technological challenge

10. The economic challenge • The economic challenge is to develop in young people the skills, knowledge and personal qualities they need for a world where work is undergoing rapid and long-term change.

11. The economic challenge • The nature of work is being radically transformed. The balance of employment is shifting from traditional industrial and manual work to jobs based on: • Information and communication technology (ICT) and the provision of services. • Economies increasingly depend on the ability of individuals and organisations to generate new ideas.

12. The economic challenge • This is true in traditional manufacturing. • But it is the expanding creative industries — advertising, architecture, arts and antiques, crafts, design, designer fashion, film, leisure software, music, performing arts, publishing, software and computer services, television and radio — which offer rapidly growing opportunities for young people.

13. The social challenge • The social challenge is to provide forms of education that enable young people to engage positively and confidently with far-reaching processes of social and cultural change. • The Education provided in most countries does not do this. • Korea has an creative education programme in all schools with a 15 year strategic plan to develop a creative workforce

14. The social challenge • The combined effects of economic and technological change are transforming the social landscape. • Communities must cope with the decline in traditional types and patterns of work, and the growth of new employment opportunities.

15. The personal challenge • The personal challenge is to develop the unique capacities of all young people, and to provide a basis on which they can build lives that are purposeful and fulfilling. • Young people spend their most formative years at school.

16. The personal challenge • The conventional academic curriculum is not designed to do this. • The majority of young people have positive attitudes towards school. • But a growing number question the value of education. • Truancy and disaffection are acute among those who underachieve, and whose cultural values and identities conflict with those of the schools they attend or the areas where they live.

17. The personal challenge One effective solution to this is to develop active forms of learning which engage young people’s creative energies

18. The personal challenge • The pattern of work is changing too, with young people likely to switch occupations and locations several times in their working lives • The trend is to freelance work, short contracts, self-employment, and entrepreneurial ability • The impact of these changes is global and cuts across national boundaries.

19. The technological challenge • The technological challenge is to enable young people to make their way with confidence in a world that is being shaped by technologies which are evolving more quickly than at any time in history.

20. The technological challenge • New technologies are having profound consequences in all areas of our lives. • They offer young people unprecedented opportunities to broaden their horizons; find new modes of creativity; and deepen their understanding of the world around them. • They offer schools the chance to transform their methods of teaching and learning.

21. Government strategy A potential central Government strategy is the identification and development of six key skills: • communication • application of numbers • use of information technology • working with others • problem-solving • improving one’s own learning and performance. Recommended by Robinson – All our Futures

22. The Role of Higher Education • Entrepreneurial thinking applied across all subjects [SYNAPSE] • Opportunities for Entrepreneurial education and incubation as part of all creative subject education, Music , Theatre, Design, Art, Computing, Fashion MA Creative and Cultural Entrepreneurship

24. Figure 2: A taxonomy of graduate attributes Values (core beliefs or motives) Liberalism Altruism Tolerance Integrity Learning Style (dispositions, orientation, reputation) Individual, flexible Creative, artistic Outgoing, confident Independent, radical Passionate, engaged Skills (competencies) Problem(thinking) Business(entrepreneurial) People(interpersonal) Self (intrapersonal) Communication (presentation) Critical and Analytical skills Adaptability Flexibility Numeracy Literacy Creativity Commercial awareness Computer literacy Networking Initiative Negotiation Team-work Leadership Diplomacy Social skills Empathy Planning and organisation Time management Reflection Self-motivation Insight Articulacy Communication Networking Self-marketing Persuasiveness Emotional intelligence

25. Social Aesthetic Economic

26. Creative Clusters It has long been recognised that industrial clustering benefits businesses bygiving them access to skilled staff and share services, and the opportunityto capture valuable knowledge spillovers.

27. Creative Clusters • This is equally true of creativebusinesses, as exemplified by Hollywood, or by a host ofthriving UK clusters, from: • Film Post-production in Soho, London • Video games in Dundee, Scotland, • Television in Cardiff Wales • Or in over 500 festivals which provide a temporary cluster often in remote rural un-industrialised settings .

28. Creative Clusters But also as reactive anti-establishment action (avant garde, artists’ squats); and as a defensive necessity, resisting control from licensing authorities, global firms, guilds and dominant cultures – artistic and political.

29. Creative Clusters • These processes have come together in the regeneration of former industrial districts and buildings that served old crafts production (e.g. textiles, ceramics, jewellery/metalcrafts), and which, following manufacturing decline accelerated by offshore production, are being redeveloped for new creative economy and innovation quarters.

30. Creative Clusters Stage of Evolution of Clusters - Definitions Mature Led by established large scale creative enterprises in specific industries with established subcontracting linkages and highly developed national and international markets. Business to business consumption. Arms length public intervention.

31. Creative Clusters • Mature Examples Film/TV – Los Angeles • Fashion and furniture design/production – Milan • Fashion – New York

32. Creative Clusters • Stage of Evolution of Clusters - Definitions Dependent Creative enterprises developed as a direct result of public sector intervention through business support, infrastructure development for cultural consumption and finance to SME and micro creative enterprises. • Public subsidy required to sustain the cluster. • Limited and underdeveloped local markets.

33. Creative Clusters Stage of Evolution of Clusters - Definitions Dependent Examples • UK creative industry quarters, e.g. Sheffield CIQ, arts venues • St Petersburg Creative Industries Development Centre; • Regional film centres (FiW, Filmpool Nord, Film I Skane) – Sweden • Digital Media City, Seoul; • Tokyo’s multimedia, video games and IT sectors; • Taipei creative industries development • Developing country regions – Pacific Asia, South America; European (ERDF/ESF) programmes

34. Creative Clusters Stage of Evolution of Clusters - Definitions Aspirational • Some independent creative enterprises and/or privatised former public sector cultural enterprises in place but limited in scale and scope. • Underdeveloped local markets and limited consumption infrastructure. • High levels of public and institutional promotional activity.

35. Creative Clusters Aspirational Examples • Creative Precinct, Brisbane; The Digital Hub, MediaLab – Dublin • Mixed cultural industries – Westergasfabriek, Amsterdam • Popular Music – The Veemarktkwartier, Tilburg; Media cluster – Leipzig • Digital media – Singapore • West Kowloon Cultural Centre Development – Hong Kong • Creative Gateway, King’s Cross; and City Fringe – London

36. Creative Clusters Stage of Evolution of Clusters - Definitions Emergent • Initiated by growing number and scale of creative enterprises with infrastructural investment from the public sector. • Developing local and regional markets. • Visible cultural consumption, internationalisation of market reach

37. Creative Clusters • Emergent Examples • Product design, architecture, digital media – Barcelona • Film/TV – Glasgow and Cardiff UK

38. Arabianranta Helsinki Arabianranta Helsinki Finland is a home for 10,000 people, a workplace for 5,000 and a campus for 6,000 students and 1500 know-how professionals.

39. Arabianranta Helsinki • As a hub for creative industries Arabianranta is a home to 300 enterprises and 4,000 employees. • In the field of creative industries the businesses are normally small or medium sized enterprises. After the educational institutes the biggest private sector employers are Littala Group and Digia Oyj.

40. Arabianranta Helsinki • The objective in future is to attract more and more businesses in the field of creative industries to join the Arabianranta community and operate and develop together with the local educational institutes. • The enterprises also find new business partners and customers via their web site and they are able to update their own web site through arabianranta.fi portal

41. Arabianranta Helsinki • The unified campus area of Arabianranta consists of 6 educational institutes, 6,000 students and about 1,500 know-how professionals. • The universities are The University of Art and Design, Arcada University of Applied Sciences and Helsinki Metropolia University of Applied Sciences. The upper secondary vocational institutions are Swedish Prakticum and Finnish Heltech and in the Helsinki Pop & jazz Conservatory almost 1,000 students study music.

42. Arabianranta Helsinki • Educational institutions and students can use and benefit from this platform in their own research projects, one example of this is Helsinki Living Lab project sponsored by TEKES • Every year, TEKES finances some 1,500 business research and development projects, and almost 600 public research projects at universities, research institutes and polytechnics. • Tekes – the Finnish Funding Agency for Technology and Innovation It is the main public funding organisation for research, development and innovation in Finland.

43. Creative Clusters – Education • Education institutions will also have to help consolidate and develop emerging professions, which include those of the ‘cartographer’ of local cultural resources, and of specialists in fields including cultural industries strategies, culture and property-led regeneration, and culture and social action/social policy.

45. DR WHO Television

46. DR WHO Television

47. DR WHO Television

48. DR WHO Television • An old brand • A desire to commission drama from the UK’s nations and regions • Market research negative • Average: 30 million viewers per series: 10.4 million New Year’s Day 2011 • BBC Wales – doubled income in 3 years to £50million • 1963 – 1989. 2005 >

49. DR WHO Television • Dr Who, New Series-Torchwood & Sarah Jane Adventures • Online and Interactive – Computer Games ( phones) create new films ( trailers) on the BBC Dr Who Website, Quizzes , News features • Tourism to the locations of the filming [Cardiff tourism chiefs seized on the Doctor Who connection and have seen visitor numbers increase more than 40% over the last 10 years, with close to 13 million people visiting in 2008. They attribute a large part of the rise to the popularity of the show]

50. Dr Who Computer Games